What a Woman 2.0

by Tara Leach

Bio:

Tara Leach (she/her) is an artist and teacher who lives, works and creates on Treaty 2 Territory in Brandon, MB. She was born in Swan River, grew up in Dauphin, and studied at Brandon University, McMaster University and University of Manitoba. In private, Tara has put brush to canvas and eye to camera for decades as a way to make sense of her world and experiences but began publicly exhibiting her art in 2011. She teaches visual art at Ecole secondaire Neelin High school, where she has been encouraging teenagers to find their creative voices for over 20 years. She is captivated by nature, theatre, knick knacks, stories, and she looks forward to becoming a kindly crone. 

What A Woman 2.0

My work questions the assumptions underpinning the lives of women and girls and is characterized by nostalgia, personal mythology, humour, and resentment. Through acrylic portraits referencing family snapshots, mixed media collages combining vintage magazine images with expressive mark making, and compositions that remix these forms and processes, my work depicts my grandmothers, my mothers, myself and my daughter engaged in the work of forging identities and world views from a chaotic barrage of information and expectations. My work situates us as real, individual women among versions or prototypes of womanhood proposed within the broader context of cultural and metaphorical symbols, including advertising text fragments and circles.

Painting family photos and advertising art from decades significant to the women in my matriarchal lines allows me to temporarily overcome the linear nature of time. I can access an instant that, without the photograph would have been swiftly forgotten, or survived, at best, as an ever dimming impression. I can stretch time, spending hours and days inside a millisecond, carefully observing, reconsidering, recombining, reforming and re-contextualizing details according to my feelings and to what makes some sense to me. I can take (guilty) pleasure in the surfaces I render, luxuriating in patterns, textiles, fonts and textures.

Each snapshot and ad image I work with depicts a performance – often of happiness, competence, or satisfaction, (although sometimes discontent or distress), in the context of one’s own culture and time. As I work, I have very mixed feelings; I am fiercely proud of these women when they appear to be
nailing perfect performances of the version of femininity dictated by their time, and I am distressed by the knowledge that these ideals are unsustainable, operating to keep women locked in an oppressive cycle of striving, and distractions from the true task of living a meaningful life on one’s own terms.

Peer 2 Peer Touring Schedule

• May • Golden Prairie Arts Council, Carman, MB

• June • Winkler Arts & Culture, Winkler, MB

• July • Prairie Fusion Arts & Entertainment, Portage la Prairie, MB

• August • Tiger Hills Arts Association, Holland, MB

• September • TBA

• October • Pembina Hills Arts Council, Morden, MB

• November • Manitou Opera House, Manitou, MB

• December • United Community Arts, Pilot Mound, MB
  

Edge of Seventeen by Kevin McKenzie

 Biography

Kevin McKenzie is Cree/Métis, born in Regina, Saskatchewan. He is a member of the Cowessess First Nation of Saskatchewan,Treaty 4. He holds a BFA and an MFA from the University of Regina.

During his 30-year art practice, McKenzie has exhibited nationally and internationally, notable exhibitions include Changing Hands: Art Without Reservation II, Museum of Arts and Design, New York. He also participated in Don’t Stop Me Now, National Gallery of Canada. If We Never Met, Pataka Art Gallery Museum, New Zealand. His work is represented in Transformer: Native Art in Light and Sound, at the National Museum of the American Indian, Smithsonian Institute, New York, November 2017- Jan. 2019. His work was selected as the inaugural exhibition titled ASAP at Urban Shaman Contemporary Aboriginal Art Satellite Gallery Santa Fe, via Vital Spaces Santa Fe, NM USA.

McKenzie’s artwork is represented in the collections of; the National Gallery of Canada, the MacKenzie Art Gallery, Indigenous and Northern Affairs Canada, Manitoba Hydro Corporation, the President’s Art Collection University of Regina, First Nations University of Canada, Comox Valley Art Gallery, the Saskatchewan Arts Board and the Dunlop Art Gallery. He has a permanent public sculpture in Whistler B.C. commissioned by VANOC Cultural Olympiad 2010. In 2022 he was commissioned by the Presidents Office at Brandon University to produce a public sculpture dedicated to Truth and Reconciliation titled “Healing Together”. McKenzie lives in Brandon, Manitoba, he works at Brandon University as an instructor at Ishkaatbatens Waasa 

 Artist Statement

“My father was a survivor of the Lebret (Qu’Appelle) Indian Industrial Residential School. Unfortunately, he did not survive the accumulated effects of intergenerational trauma. We lost our dear father in 1978, he was 39 years old, I was seventeen.” - Kevin McKenzie

Edge of Seventeen collects and preserves the memories and knowledge McKenzie’s father instilled in Kevin as a child, translating his father’s teachings and passion for hockey into a contemporary Indigenous experience. The exhibition serves as a portal, linking repressed childhood memories of McKenzie’s father to his current state of Indigenous regeneration and resistance to colonial assimilation. Edge of Seventeen reflects a personal transformation, through a process of reconstructing Indigenous identity and masculinity.

Kevin McKenzie is Cree/Métis, Saskatchewan artist, based in Brandon, Manitoba. He is a member of the Cowessess First Nation of Saskatchewan, Treaty 4. He holds a BFA and an MFA from the University of Regina. McKenzie has exhibited nationally and internationally at notable galleries such as Museum of Arts and Design, New York, National Gallery of Canada, Ottawa, and Pataka Art Gallery Museum, New Zealand. McKenzie's artwork is represented in numerous public and corporate collections and has a permanent public sculpture in Whistler B.C. commissioned by VANOC Cultural Olympiad 2010. In 2022 he was commissioned by the President’s Office at Brandon University to produce a public sculpture dedicated to Truth and Reconciliation. Currently, McKenzie is an assistant professor and faculty member in the IWGI Department of Visual Art at Brandon University. 

Each year the students attending Portage Ukrainian Nursery School Inc create a variety of artworks, from watercolour self portraits to the parent project and more.

Watercolour Self Portraits

It is interesting to see the changes to a young child’s ‘people’ drawings as they grow. From scribbles and dots through to distinct faces, bodies, limbs and detailed hair and clothing. Our children were given mirrors, plain paper, small clipboards and permanent markers and tasked with drawing pictures of themselves. These drawings were cut out by grown-ups and set aside. Water colours, paint brushes and quality paper make for vivid artwork. This activity is a favourite with the children as they enjoy watching the colours blend as they run into each other. Once the paintings dried, the children’s drawings were adhered to them making for a beautiful, personal piece of art.

The Crayon Project

This year, one of our morning kids really loves to peel the paper off crayons. The other kids quickly jumped on board and ‘The Crayon Project’ was born. Present and past nursery families donated boxes and boxes of crayons for the project. Crayons were snapped, grated, and melted with a hair dryer to create several unique pieces of art for our art auction.

Sticks, Paint and Markers

When Mr Bond has extra wood scraps, he kindly drops them off at nursery school for us to use at the art table. The last box came with many rectangular pieces and the children used liquid water colours (as we so often do) and permanent markers (again, as we so often do) to create colourful and interesting art pieces. Some signed their work. Some took it home that day but most were worked on by multiple children and returned to the big basket on the floor. We are using them as a back drop for our art show family photos this year

Fabric Art

Watercolours are a favourite medium for the children and this year we gave them large pieces of sheer material to work on. Having a large soft surface to paint on was a new and very different experience. The children used liquid watercolours, paint brushes, pipettes and permanent markers to create their group art in this project. Brushes allowed for controlled lines. Pipettes allowed spurts of paint to be sprayed. Markers added detail. Colours were layered, making for new hues. Hands were painted and prints made on the fabric. When pools of paint seeped through the cloth to paper below, the children pulled it out and pressed it on top of the cloth, making interesting relief art. Each piece is unique as different techniques were experimented with.

The Parent Painting Project

Families in our nursery school are required to help as volunteers throughout the year. Parents, grandparents, aunts and uncles take time from their busy schedules to spend time reading books, building block towers, visiting the playhouse and preparing snack. We work to keep our nursery art projects openended and creative. For this project, we chose larger canvases and the children used painter’s tape to divide it, making spaces for themselves and their volunteer adults. Children and adults were given specific instructions not to influence the choices of their co-artist and had to mix primary colours to make what they needed. Most of the children quickly put brush to canvas and enjoyed stirring the vivid paints to make more choices. Adults seemed to take a little bit longer to get comfortable… We love the fearless approach children have to art and we hope adults nurture it so it is not lost as children grow older. “The creative adult is the child who survived.”

Kids Behind the Camera

At our nursery school, children are taught how to use digital cameras. They have free access to three cameras to document their days with friends. Our goals for the children during this experience are: -the children express themselves as they learn to make intentional choices when taking their pictures -they learn how to use the digital cameras, -they develop an awareness of photo composition and the vocabulary that goes with it -the children gain an awareness of themselves, and others, as they take photos -social skills are developed as the children acted as photographers in the nursery school room.

Watercolours by Cynthia Keith

Artist Statement:

Greetings,

Thank-you for taking time from your busy schedule to view my paintings.

I am Cynthia Keith who loves art and participate as a hobby painter for many years. I started painting in acrylics doing folk art. I look back and that time and smile…. I could not follow the instructor’s patterns, as wonderful as they were…my project always had to have different features to everyone else’s.

My work was beautiful, I have to admit, and I did enjoy teaching others the joy of acrylic painting…but as nervous as I was, I was drawn to water colour painting. As time happens, our family moved to Edmonton. Knowing no one, I decided that I would take water painting classes by a well known Edmontonian artist named Willie Wong. My love of painting in water colours grew from that point. Do I still have my acrylic paints and tools – certainly - and they are used when I see a painting that needs the acrylic look. I have been fortunate to take acrylic classes with Lee Beaton, a well-known Portage artist over the years the years at this gallery. I learned, had a wonderful time and can you believe it, my paintings always looked different from everyone else’s!

Water colour gives me the freedom to use colour, mixes, textures as I see fit. A couple years back, in my ongoing water colour journey I saw a You Tube tutorial by Louise de Masi, a professional artist from Australia. It is through her talent, love of water colour, gift of teaching that my skills have grown. I have two paintings on exhibit, the Mushroom, and the Single White Daisy, from her program. Yes my paintings do sway from her instruction but in a positive way. I use her techniques learned and adventure on my way. Do I toss out some of my paintings – certainly – it is part of the growing in the beautiful art of water colour. Do I keep most definitely. Do I share my skills with others, most definitely – it is a joy to pass on the love of water colour painting.  

I have participated in two Jury Exhibitions at this Gallery. My first year a painting submitted was gifted as a tour painting to other rural art galleries and to the Assiniboine Park Art Gallery. In the following year, I submitted paintings and was blessed to have one painting on tour of the rural art galleries.

Life became busy and my hobby took a rest. I then focused on original cards – most with watercolour, some just fun use of paper. Now in my semi retirement, watercolour is once again a privilege to participate in. Again thank-you for visiting this beautiful art gallery and seeing the outcome of the pleasure I have in using this beautiful art medium….water colours.

Please note, the cost of the paintings on exhibit are for the paintings only; the frames used are second hand. The frames are used to highlight features of the paintings only. I enjoy supporting our local thrift shops in looking for and buying the second hand frames. I experience joy and the thrift shops sell the frames for benefit to others….a double joy.

Thank-you.

Cynthia Keith

Bio:

Lee Beaton is an interdisciplinary visual artist based in Portage la Prairie, MB. She is pursuing a Bachelor of Fine Arts Honours Degree at Brandon University. Beaton works full-time as the Manager of Gallery Operations at Prairie Fusion Arts & Entertainment, the art gallery and theatre in Portage la Prairie. Beaton has had several solo exhibitions, including three gallery exhibitions of 1000 Faces Hidden Within and has participated in numerous group exhibits at several galleries including Between IV, at the Art Gallery of Southwestern Manitoba in Brandon in 2018. In 2019, the Community Foundation of Portage and District commissioned Beaton to create fifty unique conceptual paintings of their logo. Beaton was named Portage la Prairie’s Arts and Cultural Person of the Year for 2017. Her latest projects include a Solo Exhibition, Gala Fundraiser Paintings at Prairie Fusion Arts & Entertainment’s Pop-Up Gallery and her Solo Exhibit, Wide Open Spaces, 2021 in Winnipeg at Cre8ery Gallery & Studio and in Hamiota in 2022.

Artist Statement:

Life is complex and we view ourselves through the filters thrust upon us by our circumstances. Exploring colour, texture and perspective in a variety of mediums including acrylic, watercolour, image transfer, abstracts and mixed media installation, I share a part of myself in each piece. From the hypnotic turn of the wheel to the stroke of the brush on canvas or paper, a sense of intrigue and mystery shines through in the beauty created. Creating artworks significant to my life, referencing my past and how it has influenced today, is an important aspect of my art practice. Looking closer at my past has helped me to share my story while also inspiring others with the hope of overcoming darkness and trauma. I like using colour, texture in unusual ways, often creating non-typical portraits of people and animals. In my paintings, I switch between brush and palette knives, creating texture with the application of paint. Each layer added, contains a variety of materials and techniques. Using image transfers and collage as a base lead to an added texture. I use photographs I have taken when I am out living life as inspiration for my work. Sometimes I am drawn to the intensity of the clouds in the sky or the contrast of the blues and greens of nature, or shadows cast on the snow. Each photo captures a moment, and every painting captures my response to that moment. Using photographs as guides I adapt the painting or drawing to what feels satisfying, loosely creating an image filled with beauty and emotions. Overcoming barriers, both real and perceived, has guided me to see beauty where others might not. This has pushed me to go beyond my comfort level and has helped me develop creatively. Incorporating imaginary and real subjects into each painting and ceramic piece brings a closer understanding of who I am and where I came from. Creating is a catalyst that brings a deeper understanding and healing of my past. When darkness is flooded with light, imperfections become visible. For me, sharing my flaws under a positive light offers hope to others that we can rise above our circumstance and become stronger. Creating art is how I share life’s beauty.

Step Out of Line: A Collection of Influential Women That Played by Their Own Rules

Artist Statement:

In "Step Out of Line," I present a visual tribute to a diverse array of women who defied convention, challenged norms, and blazed their own trails. Through mixed media, I seek to celebrate their courage, resilience, and contributions to shaping our world.

This exhibition is a culmination of my admiration for those who dared to step outside the confines of societal expectations and chart their own paths. From pioneers in the arts and sciences to activists and political leaders, each woman featured in this collection has left an indelible mark on history through her unwavering commitment to authenticity and self-expression.

While most of the pieces honor successful accomplishments, I felt it equally important to honor those whose lives were ended too quickly. At the heart of this exhibition lies a monumental piece dedicated to the Missing and Murdered Indigenous Women, Girls and 2Spirit. This powerful tribute serves as a stark reminder of the ongoing injustices faced by Indigenous women and girls, while also honoring their strength and resilience in the face of adversity.

"Step Out of Line" is not only a celebration of individuality but also a call to action. Through the stories of these trailblazing women, I hope to inspire others to embrace their own unique voices and stand up for what they believe in, even when it means going against the grain.

I invite viewers to explore the complexities of these extraordinary women's lives and legacies. Each piece serves as a visual narrative, offering glimpses into their struggles, triumphs, and the lasting impact of their actions.

As an artist, I am deeply humbled to present my first exhibition, and I am grateful for the opportunity to shine a spotlight on these remarkable women who refused to be confined by the status quo. May their stories serve as a beacon of hope and inspiration for generations to come.

Cora Pohl Bio

Cora is a naturally creative individual who stumbled upon the enchanting world of pottery in 2020. Instantly smitten, she found in pottery not just a medium for expression but a profound passion that ignited her artistic journey. With an innate desire to share her newfound love, Cora embarked on a mission to teach and impart her knowledge to children, recognizing the transformative power of art in young minds.

For Cora, pottery became more than just a creative outlet; it became a conduit for self-expression and a catalyst for personal growth. Through the tactile process of shaping clay, she found solace and confidence to explore various artistic mediums. Living with ADHD, Cora experienced the phenomenon of hyperfocus, leading to a colorful array of half-finished projects and a treasure trove of craft supplies. Embracing her eclectic nature, Cora seamlessly transitioned into the realm of mixed media, where she found liberation in combining diverse materials and everyday objects.

In Cora's artistic practice, each piece becomes a tapestry of her experiences and inspirations. She delights in incorporating found objects into her creations, infusing them with new dimensions and narratives. From discarded trinkets to everyday ephemera, each element tells a story, inviting viewers to unravel the layers of meaning within her work.

Cora's journey as an artist is a testament to the boundless possibilities of creativity and the transformative power of art. Through her teachings, she hopes to ignite the spark of imagination in others, encouraging them to embrace their own creative potential and embark on their own artistic odyssey.

"Weaving Threads of Time" by Ibrahim Shuaib

Artist Bio :  Ibrahim Shuaib is a multidisciplinary visual artist born in Nigeria, who currently resides on Treaty 1 Territory in Winnipeg. As a self-taught artist, he finds inspiration in the interplay of chaos and tranquility within himself and seeks to simplify the existential questions of life to better understand them and help ease the difficulties of life's journeys. 

Throughout his artistic career, Ibrahim has explored various forms of self-expression, but has found art to be his most consistent and stable medium. He is constantly experimenting with different techniques and pushing the limits of each medium he works with to create works that are both thought-provoking and aesthetically pleasing. 

Ibrahim's art often tackles topics that are commonly avoided, using direction and misdirection to convey his messages in a unique and impactful way. 

Artist Statement: "Weaving Threads of Time" unravels as a metaphor-rich journey of self-discovery, where spirituality, culture, and the passage of time intertwine to sketch the evolving contours of identity. It's a narrative that reflects the dual nature of life's journey, capturing the innocence of youth and the complexity of adulthood within the warp and weft of a Persian rug. This rug, with its intricate designs and deep hues, symbolizes the sacred spaces of our lives, holding the delicate balance between preserving our past and embracing the growth that comes with experience.

This narrative is a voyage through the labyrinth of the human spirit, where each turn and corridor reveals new aspects of the self, shaped by the passage of time. It is a journey that oscillates between the poles of innocence and experience, naivety and wisdom, exploring how these dualities coexist and shape the individual.

This  show is both a mirror and a window, offering viewers a reflection of their own evolutionary milestones while providing a glimpse into the myriad layers of my existence. Each thread in the rug represents an untold story, each pattern a chapter in the book of my life, each stroke an era, each memory a splatter, where moments of joy, sorrow, triumph, and tribulation are interwoven. This narrative emphasizes the importance of preserving the purity and simplicity of our "child mind" while embracing the complexities and challenges of adult life.

32:352 Printmaking III

Instructor, Associate Professor Lisa Wood.

Lisa Wood is a visual artist and Associate Professor at IshKaabatens Waasa Gaa Inaabateg Department of Visual Art at Brandon University. With an a MFA from Yale University and a BFA from the University of Manitoba, her figurative art practice broadly investigates inclusion, marginalization and interpersonal connections.

Printmaking III: This intermediate level printmaking course continues formal, technical and conceptual investigation of printmaking methods introduced in Printmaking 1 and 2, including various types of intaglio and relief printing. It focuses on developing the visual and verbal language of printmaking through studio practice and the articulation of concepts around the work. This study continues an exposure to historical and contemporary printmaking in order to position artworks created in the broader cultural context.

Students in the exhibition are: Felicity Nepinak-Hart, Hannah De Los Reyes, Anja Pickel, Lee Beaton, Sierra Alexa Khan.

2024 PCI Visual Arts Student Exhibit

The PCI Visual Arts program offers students opportunities to learn foundational technical skills, while exploring a multitude of processes such drawing, painting, printmaking and sculpture. Visual Arts courses are offered from grades 9, 10 11 and 12, with additional specialized pottery classes being offered in grades 11 and 12. The art program serves as a safe, welcoming space where students are encouraged to embrace the creative process and become more confident problem solvers along the way. Skills develop from foundational, to more complex as they move through each grade level and gain experience.

Students in the exhibition are: Jazlyn, Hailey, Sab, Liz, Preksha, Helena, T'yana, Madison, Ava, Lyndon, Robyn, Gabrielle, Tate

The visual arts program follows the Manitoba Curriculum Framework, while supporting and encouraging the growth of each student as a young artist. 

The Cabela Boys: Exhibition Statement

The artworks featured in this series are the result of my experiences growing up in a largely conservative community without a visible LGBTQ role model to emulate in my development as an individual. The lack of queer representation left me with limited resources through which to experiment, define, and accept my identity. This exhibition is a platform through which I articulate my search for a queer presence in mainstream society.

The Cabela Boys features paintings on wood panel depicting the exploits of a fictional character named Bashful and the band of scantily clad men he accompanies on various hunting trips. Though initially conceived as a humorous criticism of female dress in popular media, this series has evolved into a sincere exploration of queer identity. The shift in tone reflects my personal growth in coming to terms with my identity as a queer male artist, my sexuality, and the importance of representation to the development of an individual’s identity.

Bio:

Tye Dandridge-Evancio is a queer Canadian painter, printmaker, and curator. His studio practice is one of many platforms through which he seeks to create affirming content and share his stories and ideas with others. He chooses to represent the LGBTQ community while providing a platform and support for others to grow their respective practices.

Tye graduated with a BFA in Studio Practice from the University of Lethbridge in 2017, and completed his Masters in Visual arts at the University of Regina in 2020. He currently lives and works in Estevan, SK, as the Director/Curator at Estevan Art Gallery & Museum.

Biography

Sandra’s first gallery exhibit took place in the fall of 2020 at Prairie Fusion. Despite the small number of visitors due to the pandemic, the exhibit was well received.  Since then, Sandra has had several pieces of art shown in one show and the auxiliary gallery at Cre8ery in Winnipeg.  In the early summer of 2021, Sandra was commissioned by the Royal Aviation Museum of Western Canada to paint a series of paintings to be hung in the new location of the museum in Winnipeg.

Sandra’s fulltime career is in aviation as a pilot. She works as a Flight Instructor for KF Aero Defense Programs in Southport, Manitoba.  Sandra has been flying for 20 years. Her love of flight can be seen in her artwork as aircraft from both an outside and an inside view are often featured.

Artist Statement

Painting with oil began as a hobby about 25 years ago when I received my first set of oils one Christmas. Watching Bob Ross was always a favourite of mine, and still is. I enjoy painting nature in varying shades of colour with the occasional touch of whimsy added in.  I try to paint whenever my muse speaks, be it seeing the beautiful colours of a prairie sunrise, or a cool winter afternoon.  The challenge of painting aircraft is a definite love, and I'm always looking for fun ways to paint them!

Artist in attendance:

• Thursday, November 2 from 4:00pm to 6:00pm

• Opening Reception: Thursday, November 23 from 5:00pm to 7:00pm

• Thursday, December 21 from 5:00 to 7:00pm

Presenting Sponsor:

Peer 2 Peer Touring Schedule

• May 2 - 23 • Golden Prairie Arts Council, Carman, MB

• June 6 - 27 • Tiger Hills Arts Association, Holland, MB

• July 4 - 25 • Winkler Arts & Culture, Winkler, MB

• August 1 - 22 • Pembina Hills Arts Council, Morden, MB

• September 5 - 26 • TBD

• October 3 - 24 • Prairie Fusion Arts & Entertainment, Portage la Prairie, MB

• November 7 - 28 • Manitou Opera House, Manitou, MB
  

Whimsical Meanderings & More

by Mary Lowe and the Hamiota Art Club

Mary Lowe Biography

Mary grew up in Regina Saskatchewan, with three passions, art, ballet, and horses. She moved to Winnipeg on a dance scholarship and later graduated from the University of Manitoba with a BFA degree, majoring in sculpture, this became a new passion. Mary and her husband, Eric Lowe now live on a farm in rural Manitoba. Eric was also an artist and potter so Mary was able to resume her love for clay sculpture. She became a member of the Hamiota Art Club where she discovered an affinity for watercolour painting. Mary received a Manitoba Arts Council grant and completed a MAWA, mentorship under Ann Fallis. Her clay sculptures and watercolour paintings have been shown in solo and group shows in galleries in rural Manitoba, Winnipeg, Ontario, and at the Calgary Stampede. Mary has also participated in many juried art shows in Manitoba. Mary and her daughter Erica have painted 15 large outdoor murals in many towns in southwestern Manitoba.

Artist Statement

My paintings are created by dropping pigment into water and moving it about using line and value as a guide. When I paint, I am in an observant state, time slows down and I just watch what is happening. Many of my paintings have salt added to develop interesting patterns, these suggest images to me. The process is an exercise in following the paint’s lead, it is a lot like finding images in the clouds or wood grains.

Some paintings have a stronger design element which is sort of like Zen Doodling. I love the movement of brush strokes they can be graceful and evocative.

Each painting has a lot going on, I can spend hours finding little suggestions in the paint. Because I have worked so hard to find these images, I want you to find them too. This is why I ask you to find an image in most of my paintings so that you will find other images while you search. I hope you have fun finding them!  

Biography of Eric Lowe 2023

I am art educator with 29 years of experience in teaching art in the Brandon area. I have taught high school art for 16 years and 13 years as a sessional lecturer at Brandon University. I love experimenting with traditional art media and techniques. Teaching of Aboriginal art and visual design has provided me with interest in creating my own statements on art. I have been a coordinator for art projects, wherein artists and educators developed art-integrated lessons.  I have organized workshops and professional development for art education in-services.  I have a B.Ed. with a fine arts major and three M.Ed. degrees from BU. My main interest in pottery and steel sculpture, receiving a Canada Council grant for my sculpture

Ca•thar•sis 

*Content Warning: Works in this show may discuss topics of rape, sexual assault, self harm, and depression*

https://www.kelliegillespie.com/

Featuring:

Over/Medicated/Under

PRESCRIPTION BOTTLES, CABLE TIES; [INSTALLATION DIMENSIONS VARY]; 2022-23

over/medicated/under is constructed out of more than 5,000 prescription bottles collected over a two-year span across North America. The work activates a site-specific location and transcends the recognizable material into a visually stimulating and evocative installation. The dynamic organic structure of the work circulates the viewer underneath, resulting in continuous exploration and personal interaction with the installation.

The formal composition of over/medicated/under is entirely organic in its construction and only subconsciously guided by fundamental criteria to have the work communicate acceptance rather than function as a critique. This sentiment is realized through the accentuation of round soft edges and the captivating curvature of the work's biomorphic structure. The work coaxes viewers to recontextualize prescription medication, exemplifying unforeseen elegance through material metamorphosis.

Though appealing to the population unknowing of the personal struggle with mental illness or unfamiliar with the conclusive reality that psychiatric medications save lives, the work also represents a familiar echo to those who know the exhaustive trial and error processes of finding the proper medication treatment. Distinctly referenced in its title, over /medicated/ under , the piece relates the frustrations of finding the appropriate medication and the grueling yet necessary process of working through side effects, treatment- resistant symptoms, and waiting in prolonged limbo until the right combination is found. The work offers a visual dichotomy through its precise placement, allowing viewers to experience the work from above and ascend below for an entirely altered perspective.

The installation reflects organic references to brain chemistry and neurological passageways, embracing the cliché yet accurate implication of a 'chemical imbalance.' Gradually assembled in growing segments and collectively united in ungrounded flotation via distinct channel-like connections, the final resolution of the work alludes distinctly to neuronal junctions and synaptic connections. Suggestive of the benzene chemical structure, each ring with its connecting cable ties is visually characteristic of the benzene hexagon and its six molecules. In context with the proven correlation between neurotransmitter functions and mental health efficacy and the prevalence of mental illness, the work becomes allegorical in its poetic assertion of every individual's endless variations in brain chemistry.

The positioning of the work in its vertical consideration is imperative to the viewer's experience, interpretation, and ability to connect intimately with close observation. The lowest height of over/medicated/under falls at 6 feet and 8 inches above the ground, placing the work merely inches above the average viewer. At this elevation, careful examination of the work's meticulous and intensive process becomes unavoidable and integral to the work's consideration, interpretation, and its totality. 

Artist Statement

I am both a sculptural artist and a mental health activist. I am not one more than the other, but rather understand myself as one and the same. My personal narrative is not distinctly necessary for my work's formal comprehension or individual interpretation. However, to know my story in connection to the visual work I produce proposes a more profound relationship between conversations of mental health, trauma, and recovery.

Implementing materials discarded by society, my work stresses a symbolic parallel to individuals ostracized and similarly thrown away as they are labeled 'broken and unworthy' by their societal counterparts. Transcending an object beyond its material function and mundane existence, I invoke a quizzical observation of the unforeseen value of what we, as a society, consider useless. Applying these thought ideologies to the context of individuals facing mental illness, I emphasize prevalent stigmas, misinformation, and detrimental biases that still exist concerning mental health challenges.

My sculptures begin as an investigation into materiality; I initiate a dialogue with the distinctive material as it shares what it can and cannot do. I work in a retrograde process, beginning with a material, exploring intense experimentation, and naturally reaching a destination of organic completion. It is traditional for my work to consist of no more than three materials, and through singular object repetition, my work reaches sizable evocative fruition. The organized chaos of repetition references compulsive temperaments, therapeutic tendencies, and emphasizes the realization of the ability for something to amount to more than the sum of its worth. My process is labor-intensive, requiring copious mental and physical endurance. The arduous undertaking behind my work equitably reflects the gravity and detriment of the topics I address. Through my strenuous repetitive process, I further instigate the conversations between art and mental health. 

Biography:

Kellie Gillespie is a sculptor and interdisciplinary artist practicing and exploring new concepts of sculptural installation in Los Angeles, CA. Her sculptural work focuses on issues specifically associated with mental health and the concepts of recovery and survivorship. Through the artwork she creates, Gillespie breaks the negative connotations surrounding the subject of mental illness and allows those who have suffered, or are still suffering, to reach out and finally have a chance to talk about their experiences. She received her MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art in 2022 and was recently awarded the Perna Krick' 31 and Reuben Kramer '32 Fellowship.

Kellie's most recent work, over/medicated/under, has received global recognition and continues to gain substantial attention as the piece is routinely published, loaned out for exhibitions, and discussed within the higher art landscape. Gillespie will also hold her first solo and first international exhibition in the upcoming summer of 2023 in Portage la Prairie, Manitoba, Canada. This past year she was a guest speaker on the well-known podcast, Not as Crazy as You Think, with an episode titled Opening Up About Process and Pain. Kellie also partnered with Janssen Global during 2022's World Mental Health Day for their Art of Ending Stigma Campaign as a featured artist, spokesperson, and speaker for a live artist talk. As of 2023, Gillespie has already begun multiple partnerships with distinguished institutions and companies. The most notable being an art campaign with the sustainable healthcare company Cabinet Health.

Along with permanent public works residing in Northern California, Gillespie's work has been exhibited nationally. Her pieces sit in private collections in Los Angeles, Phoenix, Napa Valley, Philadelphia, San Francisco, Sonoma, and Baltimore. The San Francisco law firm Keker, Van Nest & Peters LLP recently commissioned her for a large-scale permanent sculpture, and she newly had her work join the private collections of notable, influential individuals in the Screen Actors Guild. She performed at the 2019 LA Art Show with an ensemble of artist survivors in the performance and now award-winning short film, 'Survivor! Share Your 98 Second Story.' Gillespie remains active in the greater community as she establishes a flourishing practice based on mental health advocacy. 

Local Sponsor: Hill’s Drug Store*

Each year the students attending Portage Ukrainian Nursery School Inc create a variety of artworks, from watercolour self portraits to the parent project and more.

Erotica 1992 • Reid Boultbee

Erotica 1992

Editing my overwroughtness, I present “Erotica 1992”. Named after the Madonna Album. Soundtracked to Sleigh Bells, Poppy and Cobrah. Blazened with the mantra “It as a protest not a parade”. My visibility has morphed from Twink - Fashion Bitch - Real Housewife - Belligerent Anarchist. That’s the idea. Fuck the wannabe “fuck boys”, ingrained homophobia, embracement of feminine sexual indignation, ending in the eroticism of oil paint. Less internalized and self imposed anger, more brazen anarchy and martyrdom.

Possibly the most erotic, sensual and sexualized experience of my life.

Evoking Art Nouveau, Abstract Expressionism, Post Expressionism, Post Modern and Pop Art.

Influenced by Edvard Munch’s nude bathers and self portrait in hell, Marina Abramovic “art should be disgusting, art should ask the right questions and art should change the world”, Robert Mapplethrope’s cruising photography.

Scenes of Peru • Lyon Bohemier

Biography:

Lionel was born August 5th in St. Norbert, MB in 1908 and died 2002. He studied under a famous landscape artist, Walker of London, England, and a great portraitist, Maillard of Paris, France. Since 1953 Lionel (Lyon) has worked and exhibited in various department stores and galleries in Europe, Africa, the Caribbean, Central and South America, Mexico, Japan, China, the U.S.A., Australia and Canada. Travelling developed his natural talent and inspired him in his beloved art. He supported himself with his talent, never with a grant of government. Lionel was of a kind and generous nature, with a great sense of humour, always ready to share his gifts and talents with his fellowman regardless of title, position or wealth. He believed in the humanity of God's creation and loved nature. He was always ready to give a helping hand with whoever he met. Material values were not his main goal in life, he trusted in Gods Providence, which always sustained him. Fluent in French, English and Spanish. He loved to paint the beauty of the locations he visited and capture the culture of its inhabitants. 

This collection features some of the painting he did during the Winters he spent in Peru. 

Lago Titicaca and Night Moonlight Fishing 

Captures a scene from Puno a lakeshore city on Peru's Lake Titicaca, the world's highest navigable body of water. Here the Uro ( Indigenous peoples pre-dating the Incas) return at dawn after a night of moonlight fishing on their unique reed boats called "balsa" in the calmer waters when the fish are most active. 

Machu Picchu 

It is believed Macchu Picchu, built in the Peruvian Andes mountains, was an estate for an lncan Emperor and has become an icon of the lncan Empire which is often referred as to the "Lost City of the Incas". Agriculture would have been done on the terrace structures. 

Ayacucho 

Huamanga, was renamed Ayacucho in 1825 by Simon Bolivar after a battle that occurred in this area that secured Peruvian independence from the Royalist. Ayacucho, derived from the Quechua words aya "death" or "soul" and k'uchu "corner" honours the souls of the soldiers lost during this battle.

A series of works show the simple housing style, clothing, and the ubiquitous llamas used by the locals of Ayacucho. This city is famous for its 33 churches, one for each year of Jesus' life and known as one of the "City of Churches". Ayachucho is know for elaborate processions during Holy week. This work captures the solemn Good Friday procession.

Volcano Misti- Arequipa, Peru

The soil around this volcano makes it fertile and contributes to one of the most agriculturally productive land in the country. 

Manitoba Wildlife Imaginary • Brian Longfield

For some time I have been interested in the factors that grant subjecthood, personality, and character to our perception of others. In earlier work, this interest lead to work using masks to create performance-based work with my partner, Charla Ramsey in which performance of characters using theatrical masks was used as the basis for work that became drawings, paintings, videos, and installations. More recently I have been making paintings of animals to explore their subjecthood.

This exhibition encourages seeing animals as beings with thoughts and feelings but it is interesting to note that the personalities and emotions we ascribe to animals are not likely to be their actual feelings but are based on our human perceptions of human emotions. While many animals do indeed have emotions and feelings that can be observed and recorded by behavioural scientists and certainly people who live with pets develop a sense of their pets’ emotional life, this exhibit is not and cannot function as a substitute for that. It does however act as a small stepping stone towards it.

Artist Biography

Over the years, Brian Longfield has exhibited video art, installations, and paintings, as well as exploring performance and theater, and avante garde music. His acrylic paintings are made with original photos and a data projector. His current work incorporates an interest in biodiversity, ecology, science and empathy. Brian has recently returned to painting after focusing on video based work with the now-defunct collective, Viewing Method Group, and performance based work as part of the duo “6.” Through his various projects, Brian has exhibited at The New Music Festival, Nuit Blanche, Video Pool, Graffiti Art Programming, Frame Arts Warehouse, and as part of the Winnipeg Fringe Festival.

Brian holds a BFA from the University of Manitoba and an MFA from the University of Western Ontario. He has curated exhibitions, both at Frame Arts Warehouse and at his own former Gallery, Tumble Contemporary Art. He lives in Winnipeg with his partner Charla and their children, Aria and Zephyr.

Diaries of a Map Maker - David Thompson

Don McMaster

DIARIES OF A MAP MAKER

In September 2006, I decided to paint "something completely different': and I began The David Thompson Project, a nine-painting collection depicting some significant events in the life of David Thompson, Canada's famous fur trader, explorer, and map maker. I narrowed my focus to events which occurred in the prairie region and around Lake of the Woods, acknowledging that his fame is generally centred on events in the Rocky Mountains and on the West Coast.

Whereas explorers such as Lewis and Clark in the U.S.A. received honours and fame, and continue today as historic icons, David Thompson has been, until now, largely overlooked by Canadians. Perhaps that is the Canadian way?

I used Thompson's journals as my principal reference, but I soon discovered that I needed additional help from experts in Canadian history to reproduce accurate images of the clothing and footwear of the period, (1797-1812). My research has taken incredible amounts of time. Several trips to Montana, the Dakotas, Northern Saskatchewan, and Lake of the Woods were required to reproduce accurately the landscapes where events took place. Geography, season, weather, time of day, and the characters involved were all important. I journeyed to each of the localities Thompson described. These were essential so that viewers could be confident that they "were there':

I soon discovered that the research and actual painting time required would seriously limit that number of paintings I could reasonably produce for this project. In the end, the nine paintings took well over eighteen months to complete. Three painting concern the Lake of the Woods and the Winnipeg River, five depict his journey from Fort Assiniboine to the Missouri River, and one show's Thompson's marriage to Charlotte Small.

Bio

Don McMaster, artist, naturalist and outdoorsman, lives in the landscape he loves to

paint. His work, his recreation and his major interests all revolve around the prairie

provinces, where he lives, and North-western Ontario, where he maintains a summer studio. A well-known advocate for wildlife and habitat preservation, McMaster has worked for many organisations dedicated to those purposes.

Since moving from Winnipeg in the mid 1990's, Don and his wife Ardythe work at maintaining the native mixed grass prairie on their property overlooking the Assiniboine Valley southwest of Portage la Prairie. Winter finds them skiing the trails of the beautiful Assiniboine Valley.

Don McMaster's paintings explore the western Canadian landscape in all its changing lights and seasons. A member of the Assiniboia Group of Artists, he exhibits and sells his new work each year at Manitoba Art Expo, the first weekend of November.

Don's latest project, Diaries of a Mapmaker, features events in the life of David Thompson, Canadian explorer, and mapmaker. This collection of work will be shown at various locations in 2008, as part of the David Thompson Bicentennial celebrations.

Nitayānān Kīyāpic Ōta (We’re Still Here)

Carly Morrisseau

Niwī- atamiskawāw nikāwi, Diana Morrisseau. Wīna kā nīkāniskākowāk, kā isi wīcītowāk nisīmak akwa nimis. Wīna kā kiskenītāk ininīmowin kākī-  isi onastāk ōma isīcikewin anoc. Mitoni ninisitayinawāw anoc akwa nikistenimāw nikāwi, ininīmowinihk isi. Akwa nīsta ta atoskātamān ekota isi ōma isīcikewin kawi ati nikānōtayikowāk, asici nōtāwi, Marshall Morrisseau. Tapwe kīhci kinanāskomitināwaw.

I want to acknowledge my mother, Diana Morrisseau, the Matriarch of my family and whose knowledge of the N dialect has been instrumental in creating this exhibition. I address this directly to her in our Native language of Cree to show my commitment to learning Cree moving forward through immersion alongside my father, Marshall Morrisseau.

Nitayānān Kīyāpic Ōta translates to We’re Still Here and as a digital artist, I aim to create artwork that not only utilizes the N Dialect to depict Cree Syllabics, but to share how beautiful the language is. I create artwork using the digital art medium to connect back to my cultural identity, but also my artistic practice which combines the contemporary with the traditional. Through the cyclical nature of time and space, I have created artwork that documents my past, present, and future. 

The following artwork titled: Continuum (2022, digital medium), arranged in a linear format that uses color to create cyclical time, in that there are no definite beginnings or endings. These experiences have provided a connection to my cultural identity as an Indigenous person and this idea guides my art practice as I continue to make artwork inspired by my culture and my lifelong goal of learning the Cree language.

Continuum represents my past, present and future in a series that are meant to challenge linear conceptions of time. The color palette of these designs informs the work through three main color choices: blue, yellow, and pink. The blue represents the first seven designs and documents the past, from my memory of the land to the color of our planet from outer space. The yellow represents the second seven designs and documents the present with the main figure representing my presence through work that has shaped me artistically, culturally, and personally. Finally pink represents the last seven and documents the future and all it can entail, from everything that I want to achieve including my endeavor to incorporate syllabics in modern spaces. 

The choice to do these artworks digitally is purposeful and connects to the overarching theme of the exhibition. As an Indigenous person I have been held as an afterthought. That we, as Indigenous peoples do not exist, and are a relic of the past. However I have created artwork in a medium that is not only contemporary but combines this contemporary medium with the traditional by incorporating syllabics from a language that was once illegal to speak on our own land. By combining the traditional with the contemporary I not only celebrate the beauty of this writing system, but also give the Cree language the spotlight it has always deserved. I endeavor to show that we as Indigenous people will continue to thrive, create, and endure as we always have.

Bio

Carly Morrisseau is a BFA (Honours) graduate from Brandon University with a major in Drawing and a minor in Native Studies. Morrisseau is of Cree and Métis descent, and they aim for the revitalization of the Cree language through their artwork while depicting the N Dialect to illustrate Cree syllabics. It is by using the N dialect, the written writing system used to write Cree dialects, Morrisseau wants to share how beautiful the language is through the digital art medium, but also to connect back to their cultural identity in their artistic practice which combines the contemporary with the traditional.

A Show of Hands / À main levée

by Rosemarie Peloquin

Artist Statement

I sculpt wool with tiny barbed needles. I am drawn to ordinary people, those who make up the wallpaper of everyday life. My portraits and vignettes are expressions of moments in time. They are made to evoke a familiar nostalgia that connects us in our shared humanity, and tease stories from each of us. They are an invitation to start a conversation. The material and the act of needle-felting are important to the works. I am constantly surprised by what comes from the collaboration of hand, barbed needle and fibre. There is a powerful connection that happens when I sink my fingers in the soft wool, when I hear the satisfying crunch as the needle rhythmically stabs and connects with the fibres, and when I see the personality emerging as I push and pull and tease the spirits within. The wool is warm, soft and light yet becomes strong in the felting. Life is fragile yet we become strong in the living. What are we made of? How do we stand up to the test of time?

Biography

Rosemarie Péloquin is a franco-manitoban who sculpts wool. Surrounded by clouds of wool, she sculpts faces and hands with her barbed wands, teasing the fibres, coaxing them to reveal the character within, presenting a new image of the fibre and giving it a new voice. Her work emerges from a background in interior design, a career in Parks Canada, teaching, coaching, travel and family. Rosemarie's work is featured in video-reportages on Radio-Canada, TVA and TFO 24.7, has appeared in Architectural Digest, Surface Design (US), Fiber Art Now(US), Book Arts Canada and Textile Fibre Forum (AUD) magazines, and has shown in exhibitions in Manitoba, Alberta, Ontario and B.C. She has received support from the Manitoba Arts Council, Manitoba Craft Council and Canada Council for the Arts. Rosemarie was awarded an honourable mention at the International Figureworks2019 Art Prize and has recently finished a commissioned wool bust of HRH The Prince of Wales (Prince Charles), the patron of Campaign for Wool Canada, and is working on a collaborative series with book artist Debra Frances Plett which is featured in Book Arts/Art du Livre Canada magazine.

2023 PCI Art Student Exhibition

February 16 to March 29, 2023

Art Gallery is open Monday to Thursday, 10 a.m. to 3 p.m. and Saturday, March 25 from 12 p.m. to 3 p.m.

Students are PCI who take visual art classes and photography at PCI were invited to display some of their work in the Boardroom Gallery.

The following students have submitted work:

Madison Dack, Paige Bulachowski, McKenna Gair, Jessica Ramachandran, Olivia Krynski, Avery Klyne, Jovie Plett, Neela Pashe, Victoria Zimmer, Ava Smith, Ronin Chalifoux.

Constellations

by Kathleen Shellrude

Artist Statement

Constellations,  a series of mixed media paintings created amid the genesis of the Covid-19 pandemic. The work draws on what we all felt during a time when life was uncertain, the virus misunderstood, and social connections were both avidly feared and coveted. Our lifelines were with those we love and keeping them safe meant keeping our distance.

Similar to constellations, I believe our human attachments tether us to each other. During these trying times, however, our interdependence is at a longer range. The extra precautions I have had to take as a person with a physical disability have resulted in a separateness that has been difficult to acclimate. These paintings depict moments where the essence of  community means making connections while staying apart.  

Self-isolating meant adjusting my habits as a consumer. I have taken the opportunity to (re)use substrates by reworking or altogether painting over pieces that have lost relevance. The result has been new pieces imbued with texture and depth originating from ‘what came before’. 

Like our skies and skins, this is a story that requires going beyond the surface: its complexity makes it beautiful. After all, it is our histories that make us human and our relationships that can make us humane. 

Biography

A mixed media artist and experimental ceramicist, Kathleen Shellrude lives and creates on Treaty 1 Territory  (Winnipeg). Her artistic career began after a lengthy hospitalization in 2015 which prompted her to use art as a means of processing issues related to a personal history marked by disability, mental illness, homelessness, and addiction. 

Since completing a residency at Artbeat Studio (2017), Shellrude has presented work in 6 solo exhibitions, including Forest Royalty which is currently travelling through rural Manitoba, and has participated in many group shows. She has curated 3 exhibitions, including Life Support (2018) which honours her nephew who passed away from an overdose.

Her paintings feature dreamlike landscapes, magical creatures, and abstraction. She works in multimedia pottery by combining acrylics, resin, gold leaf, botanicals, bones, stones, prayers, and spellwork that connect her, and the viewer, to the divine.

She is one of the founders of Higgins Studios, where she works in one of the accessible artist-run studio spaces made available to 20+ artists. She is chair of the board at The Edge Urban Gallery and Art Centre, and is a member of various arts organizations in Winnipeg. 

They Worked the Land

by Susan Crawford-Young

Artist Statement

The closeup views of agricultural equipment show the working pieces of machinery that has grown our food for over 100 years. In fact, agriculture and food production have spurred the development of machinery in general which in turn has led to many of our technological inventions. Growing up I worked in my father’s machine shop – Manitou Manufacturing in Winnipeg, MB. There I learned the integrities of making machine parts for a variety of equipment including agricultural and aerospace parts. I am also an Engineer and Farmer and know the importance of these items. Making these parts and maintaining the machines they are a part of is truly an art. I have photographed some of the most intriguing images of these parts. I hope you enjoy them as much as I do!

Biography

Moving to rural Southern Manitoba to live on a farm for 30 years has given Susan the opportunity to observe rural life from a different perspective. The large open fields, the wildlife and the way farm work is done are some of the rural views that she likes to depict in her work. She is a photographer, painter, and sometimes potter. She likes to keep the photography unenhanced and usually takes photographs for the basis of her paintings, but some photographs are better left in that medium. Her paintings are in acrylic, oil, and watercolour and my pottery is often made from the clay from her farm near Darlingford.

Nature is Imagination by Julie Emerson Verwey

November 7 ro December 21, 2022

Art Gallery is open Monday to Thursday, 10 a.m. to 3 p.m.

Julie Emerson Verwey is a visual artist and creator. Growing up in Edwin, Manitoba, she showed an early talent for drawing and over time realized her love of painting. She uses acrylics as her medium and nature as the vehicle to express herself. She is inspired by the beauty of the Earth and its ever changing scenery that is the backdrop in all of our lives. Julie lives and works in Portage la Prairie with her four children and her husband Kevin.

Mascots and Parade

by Olanrewaju Abiola

Biography

Olanrewaju Victor Abiola (b. 2000) is a multidisciplinary visual artist hailing from Ibadan, Nigeria. His practice escalates across various mediums, from pencil drawings to digitally projected installations. Abiola’s experimental approach enables the dissection of domestic dialogues into simpler representations using illustrated metaphors, while reorienting the meaning of those familiar occurrences.

Abiola’s practice has been greatly influenced by his constant collision between the metropolitan and rural districts of Ibadan, one of the largest cities in west Africa. Being the last child of three, to middle class City planning Architect, and Banker parents, his early creative enthusiasm was summoned by being surrounded with architectural blueprints and sketches from the shelves in his father’s home studio, and computer gadgets provided by his mother. Growing up in a mega city filled with a diversified distribution of class occupying common spaces, he had a uniform exposure to cultural influences such as music, fashion, lingo, and religious beliefs which has been reflected in art practice.

Abiola fulfilled his elementary and secondary education in Ibadan before relocating to Treaty 1 territory, in the country colonially known as Canada, for his tertiary education. He is currently completing his studies at the School of Arts, University of Manitoba where he dives through a wide range of creative visual languages. The artist is a recipient of multiple provincial art awards in Manitoba and Ontario, has also been involved in group exhibitions in those provinces.

Artist Statement

“Mascots and Parade” exposes the notion of self neglect through metaphorical illustrations of domestic dialogues. It encompasses the idea that individuals are being distracted by the role cosplaying as they navigate through societal exchanges. The exhausting simulation imposed upon society at large has forced many to subconsciously take on a different identity quite unnatural to their true selves, while being a symbol of those false identities. The contemporary societal dialogue appears to be a stampede of subconscious performance epidemic to the working class, causing a decline in emotional and intellectual well being. The exhibition consists of mostly figurative paintings and drawings, representing metaphorical interpretations through the artist’s optic.

Sponsored by: Portage Vision Services

Manitoba Arts Network 2023 Touring Exhibitions

October 3 to November 3, 2022

Art Gallery is open Monday to Thursday, 10 a.m. to 3 p.m.

1. Manitoba Wildlife Imaginary | Brian Longfield (Manitoba)
   medium: painting
   number of works: 20

For some time I have been interested in the factors that grant subjecthood, personality, and character to our perception of others. In earlier work, this interest lead to work using masks to create performance-based work with my partner, Charla Ramsey in which performance of characters using theatrical masks was used as the basis for work that became drawings, paintings, videos, and installations. More recently I have been making paintings of animals to explore their subjecthood.

This exhibition encourages seeing animals as beings with thoughts and feelings but it is interesting to note that the personalities and emotions we ascribe to animals are not likely to be their actual feelings but are based on our human perceptions of human emotions. While many animals do indeed have emotions and feelings that can be observed and recorded by behavioural scientists and certainly people who live with pets develop a sense of their pets’ emotional life, this exhibit is not and cannot function as a substitute for that. It does however act as a small stepping stone towards it.

Artist Biography

Over the years, Brian Longfield has exhibited video art, installations, and paintings, as well as exploring performance and theater, and avante garde music. His acrylic paintings are made with original photos and a data projector. His current work incorporates an interest in biodiversity, ecology, science and empathy. Brian has recently returned to painting after focusing on video based work with the now-defunct collective, Viewing Method Group, and performance based work as part of the duo “6.” Through his various projects, Brian has exhibited at The New Music Festival, Nuit Blanche, Video Pool, Graffiti Art Programming, Frame Arts Warehouse, and as part of the Winnipeg Fringe Festival.

Brian holds a BFA from the University of Manitoba and an MFA from the University of Western Ontario. He has curated exhibitions, both at Frame Arts Warehouse and at his own former Gallery, Tumble Contemporary Art. He lives in Winnipeg with his partner Charla and their children, Aria and Zephyr.

• 2. Mind and Heart | Victoria Prince (Manitoba)
  medium: drawing
  number of works: TBD

Mind and Heart is a series of black ink drawings and alcohol ink paintings exploring the connection between neuroscience and the human heart. Victoria’s work is inspired by the drawings and cell-stained illuminations of neuroscientists Santiago Ramon y Cajal and Camillo Golgi. Golgi created a staining technique making brain cells (neurons) visible under the microscope. Deeply inspired by their illuminations, Victoria began drawing neurons using black ink pens on distressed yellow paper mimicking the cell-stained images of Cajal and Golgi. Victoria’s research of the brain and the formation of neurons and specifically memories caused her to question can one overcome and/or change their negative memories. She became intrigued by the connection between the mind (memories and thoughts) and the heart (emotion). This research of the heart-brain connection led her to the work of Dr. Armour who coined the term ”heart brain”. In 1991, Dr. Armour discovered that the heart has its own ”little brain” composed of approximately 40,000 neurons that are alike neurons in the brain. Thus, Victorias research led her to explore the anatomical heart through drawing and photography.

Artist Biography

Victoria Prince is a multi-disciplined artist who graduated in 2003 from the University of Manitoba receiving a B.F.A. First Class Honours degree. Her work is broad in style and genre from traditional black ink drawings, alcohol ink paintings, and experimental films.

She has won various awards such as the Winnipeg Arts Council’s “On the Rise”, and Best Picture for the Urban Reels Festival in Winnipeg, Manitoba. Victoria’s work has been shown in film festivals nationally and internationally such as in Egypt, the UK, South Africa, France, Italy and the United Arab Emirates.

• 3. Pattern making, pattern mending | Alison Davis (Manitoba)
  medium: drawing, animation
  number of works: 24
  i-pads are included with the exhibit

Nets are patterns that catch and hold. The patterns of our lives also ensnare us. Often, those patterns are beneficial routines, but there are many patterns that hold us back. This series of work is a consideration of patterns generally as well as the work it takes to construct and deconstruct those patterns.
The net drawings are laid out in even grids. Periodically the ordered repetition of the grid is disrupted by extra pieces of string, holes that have been irregularly patched, and places where the nets lose their pattern. There is a tension between the orderliness of the grid pattern and the slight variations that encourage the viewer to come in close to examine each knot and to seek out new patterns in the areas where the regular grid is broken.
The animations and drawings of the hands reference the mundane, day-to-day work that goes into mending and maintaining a routine. Work that is overlooked yet constant and unceasing. Without this vigilance, there are so many ways in which the ordered world can become disordered.
In conflict with this, is the acknowledgment that systems and patterns can also be harmful and require reordering. Sometimes the disruption of a pattern is necessary. And so, while some of the drawn and animated hands work to build and maintain the grid pattern of the nets the other hands take that pattern apart to create spaces that resist the dominant pattern to allow for variation and change.

 This project was created with support from the Manitoba Arts Council.

Artist Biography

Alison Davis is an artist and animator based in Treaty One Territory, Winnipeg. She has created a number of short films with a focus on traditional animation animation that have screened at festivals and venues around the world. Her drawing practice explores the subtlety of fine lines and delicate interactions. Davis holds a BFA in Film Animation from Concordia University in Montreal and has been the recipient of grants from the Canada Council for the Arts, Manitoba Arts Council, and the Winnipeg Arts Council.

• 4. Playing Tag | Karen Schulz (Manitoba)
  medium: photography, collage
  number of works: 10

One golden autumn day, I looked skyward to the honking of south-bound Canada Geese. Reminded of practicing scales on the piano with each bird a note, I envisioned a musical staff superimposed, or “tagged”, over the iconic flying V formation. Suddenly, musical notes and sounds seemed to be hiding everywhere.
I began to photograph such commonplace images as a scattering of leaves, footprints in the snow, and shadows of objects as Earth made its way around the sun.  A notion to stencil symbols over the photos evolved into this suite of ten mixed media prints. In assembling the work, I mimic the action of a Graffiti artist by stencilling my “tags” (musical staffs, clefs, sound effects) onto a barrier of acrylic panels through which the photographs are visible. Their titles painted on the bottom borders reflect my fondness for puns. The works are displayed flat against the wall, although Bridge, Bar, and Refrain are fun to present on the floor with a few dried leaves and pebbles on their surfaces, playfully adding to the score. In this celebration of imagined music, I am inviting viewers to “play tag” for themselves and discover what may be hidden in the gutter, the shadows, or the stars.

Artist Biography

Karen Schulz is a visual artist and art event coordinator who is inspired by her birthplace, the farming community of Grandview, Manitoba, and the Winnipeg urban life where she lives and works. From her studio, maintained for several years in the Exchange District, her practice overlaps traditional and contemporary media with an emphasis recently on experimental drawings.

• 5. Classic Portraits with Movement | The Magic of Still Life | Pepe Hidalgo (Spain, British Columbia) 

medium: painting

number of works: 14

Classic Portraits allow me to present a classic figure in two distinct ways. The image is from the side and from straight on. Combining the side and the front perspective creates movement. The fusion of creating a classic portrait and the movement at the same time is what creates an interesting “Double Vision” of each figure. The clothing worn by the figures contributes to the classic look, dating them to times past. These portraits at the same time as being classic can become deformed with the two faces. In some, there is still, simple beauty, yet in others, they become grotesque, serious, or funny. Each and every one of them are people I have created from my imagination.

Artist Biography

Pepe Hidalgo’s style is narrative in the figurative and abstract genre. His figurative is not related to realism, it is created from his imagination, and his memory of his sense of reality.

Hidalgo’s paintings achieve strength through the glazes or velatures he applies. He will apply them until he achieves a greater sensation of space. Hidalgo displaced oil by acrylic in the nineties. He paints direct sketches on the canvas. There is a distinctive element present in his paintings, a two-coloured cord or string that acts as a reference guide between reality and imagination, which, by remaining in time, has become a hallmark of identity.

His artistic process began in adolescence during frequent visits to the Museo del Prado in Madrid, where he discovered his first teacher, Francisco de Goya. His work is influenced by Velázquez, Zurbarán, El Bosco, movements of the 20th century, Picasso and American artists Francis Bacon, Freud, Esteban Vicente, and Pollock.

Art has allowed him to “free himself” and express himself without prejudice, and to dare to do what he feels without expectations. Many people ask him where he gets his ideas for his paintings. When you know him you realize he mixes his knowledge of astrology, mythology, history, life, and experiences. The ideas for his paintings arise from everyday life, and the search to understand the relationship of past or present events with the human being, in relation to who and what we are. This is reflected, manifested, and expressed in his paintings.

Familiar Rural Places

by John Nielsen

ARTIST'S STATEMENT

After living in a certain place over the years, we tend to take it for granted.

We don't notice the interesting, sometimes beautiful sights around us.

In 2019 1 had an exhibition at Prairie Fusion entitled 'Familiar Places' in which I displayed pictures of such places in our home city of Portage la Prairie. "Familiar Rural Places' will be a companion exhibition, displaying paintings of familiar places in the area outside our city.

Some of the images will be of actual places that we all recognize. Examples are 'Halfway Tree' and 'Diversion.' Others will be of places that are typical of the Central Plains, such as 'Field Patterns' and 'Canola.

I hope that seeing our surrounding through the eyes of someone else will help viewers to notice and appreciate the world in which we live.

BIOGRAPHY

I was born in Manitoba and have spent most of my life there, more than half of it in Portage la Prairie.

I have enjoyed drawing and painting for all of my life, but it wasn’t until about 1990 that I was inspired to take up art more seriously. Since then I have taken several classes and workshops, but most of what I have learned has been through constant practice and studying the masters. I have taken part in numerous exhibitions and have had 30 solo shows.

I have experimented with several media but feel most comfortable with watercolour. Several years ago I took up photography and I am now enjoying the challenges that it has to offer.

In 2006 1 retired and I now devote much to my time to creating imagery. Most of my interests are art related. I am a volunteer with the Portage Art Centre as a member of the installation committee.

I lead a quiet life with my wife Donna. We have a daughter and 3 grandsons.